Alice Lowe’s directorial debut may falter in its grip, especially in story and tone, but it’s a daringly evocative film that marks a filmmaker of imagination and promise.

So it may not be Citizen Kane, but it is a hilarious comedy (although not a very believable one — there can be no eight-year-olds this ingenious) that kids will love and adults won’t mind sitting through either.

It’s a formula that works and, as crowd-pleasing mainstream Britcom goes, it’s a relatively solid, if flawed, entry into the genre.

Directed and played with terrific verve, this moves so fast from one special effects set-piece to the next that there's no time at all to reflect on the basic ridiculousness of its Chinese box of a plot.

Political chicanery and psychological mystery entwine with some stunning underwater sequences but don’t gel entirely satisfactorily.

While it’s not a crossover classic, this has enough wit and charm to entertain both big and little people.

What saves the movie is its relaxed sense of self-awareness. Reynolds all but winks at the audience with his collection of Dick Dastardly sneaks and dodges, but holds onto that winning, hangdog warmth that got him to the top of the pile in the seventies.

A compelling, if obscure, experience with evocative scene-setting and dreamy atmosphere.

An unorthodox romance that will leave you sweaty-palmed and tearful, in equal measure. It doesn’t quite reach the heights it could, but there’s a hell of a view at the top.

Even thought it's the third such effort to employ handheld camera in a zombie flick, this has more than enough shocks to hold its own.

Cinema’s least-subtle and most-escalated series hits its sky-high-concept plateau. It's a film that somehow finds new and fabulously silly things to do with cars, while — Momoa’s questionable villain aside — being exactly what you’d expect.

Don’t expect the true terror of Perkins’ Longlegs or King’s source story. Do expect plentiful gags to make you, well, gag. The best scenes here are a gory glory.

While you cannot dismiss its place in history, its power is in what it represented rather than what it did.

It’s absolute nonsense, of course, but does quite nicely as knockabout Friday night fun. We can smell a sequel if Travolta can be bothered.

An opulent and accurate portrayal of the period that drags too much to stay interesting.

This gentle and intimate coming-of-age drama from beloved playwright Annie Baker is an assured but frustratingly slow-paced directorial debut which evokes the bittersweet nostalgia of ‘90s pre-teen girlhood.

The three leads make a decent fist of it, but they're somewhat let down by a script that fails to sparkle and a less-than-perfect balance of action and emotion.

This will not appeal to everyone, whether it will appeal to anyone is another question. With dark humour from time to time, underneath an extremely repulsive concept, this is a relatively conventional horror movie.

A flawed work held together by Alwyn’s tender presence.

The plot’s all over the place, but there are a lot of laughs and some strong action beats along the way.

Diehards might be disappointed at the lack of chainsaw wielding, but this is Campbell’s finest hour since you-know-what.

A Mex-set spaghetti Western featuring toilet humour, organ transplants and the closest Mel Gibson’s come to playing Martin Riggs since the last Lethal Weapon.

Hardly as revolutionary as the activists it draws inspiration from, Call Jane is nonetheless a charming, big-hearted story of a fight for justice, and might just change a few minds along the way.

If it’s surprisingly sweet-sounding subject matter for Albert Hughes’ first solo film, he treats it with respectful seriousness. It’s a family movie but one unafraid to show some very sharp teeth.

A gripping if occasionally overwrought drama radiated by a standout turn from Seydoux.

It's not on a gasp-inducing making-the-Statue-Of-Liberty-disappear level, but with its opulent presentation and confident storytelling, The Illusionist has the power to keep an audience rapt like a good old-fashioned card trick.

Covering alcoholism, manslaughter, infidelity and petty crime, there’s a rich spread of melodrama on offer, but none of the tales have meat enough to satisfy alone. Together, though, they form a varied backdrop to showcase some respectable character work.

Nail-biting and genuinely heartbreaking moments mean it's emotionally involving, even if it isn't the cheeriest drug dealer saga in town.